![]() This is a risk of attending one of the few schools teaching the naturalistic method of drawing and painting which is based upon those developed in the High Renaissance. There is another reason for developing this habit and this is an antidote to what is almost the opposite problem (although much rarer at the moment) that is too much hands-on direction from the teacher. This capacity for self-directed study by analysis of Old Masters' work can be adapted to any style, So although I learned it in the context of iconography classes, I might then use it to learn to paint in the way of a 13th-century Sienese gothic artist such as Simone Martini. The student who has the capacity to learn from a painting without any other direction will always be at an advantage, therefore. It will be essential, therefore, for the student to be able to fill in the gaps by undertaking focussed, self-directed study. It is very unlikely that these will combine to give the student everything that is needed. It is for the student, therefore, to choose a range of workshops that those that are available, perhaps from several different teachers, so that they form an integrated pattern of art education. Most will have random and varied access to individual workshops. This ability to teach oneself is important for artists today, I feel.įirst, in the field of sacred art and especially iconography, most people will not have access to a fully integrated six-year program of instruction that teaches how to paint, soup to nuts, so to speak. In the method I was instructed in, even loose and what we might term expressionistic brushwork is premeditated, however spontaneous it might appear. In other words, consider carefully what you think the artist did, then decide what you are going to do, and then do it! It couldn't be further from the idea of stream of consciousness expression, which seeks to disengage from rational thought and be guided solely by the emotion of the moment. When using past masters as a model for my own painting the motto that I was given was, 'Think twice, paint once.'. ![]() ![]() Through this additional instruction, I was being taught, in effect, to teach myself by looking at the work of any artist that appealed to me. I have a reason for doing this: when I was taught iconography my teacher Aidan Hart, would instruct us on how to paint or draw the icon as one might expect, but very often he would also describe how he worked out how to use this method by analyzing past works of art. Accordingly, what I am going to describe is the method that I would use if I was to try to adopt aspects of his style in my own work, based upon an analysis of the photographs I have seen. As an artist, I am primarily interested in how I might attempt to replicate or incorporate partially the effects and stylistic elements that I like into my own work. I don't know with certainty the method that Kordis uses, but that is not the object of the exercise here.
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